These are the best Fujifilm lenses for automotive photography, chosen for how they blend speed, stabilization, and disciplined optics with focal lengths that cover hero exteriors, rolling shots, interiors, details, and track action on X-mount. Cars reward control and character: rectilinear wides that keep body lines straight, crisp mid-range primes for painterly separation, stabilized teles for panning, and a macro for badges and textures. Start wide for exteriors and cabins—the XF 10–24mm f/4 R OIS WR is the rectilinear workhorse for cramped garages and interiors (think 15–20mm-equiv), while the XF 8–16mm f/2.8 R LM WR adds flagship corner integrity and speed for night meetups and show floors; Laowa 9mm f/2.8 Zero-D keeps lines honest in a tiny manual package, and the Sigma 10–18mm f/2.8 DC DN or Tokina/Tamron 11–20mm f/2.8 give fast, gimbal-friendly ultra-wide coverage for rolling B-roll. The standard zoom anchor is the XF 16–55mm f/2.8 R LM WR—prime-like sharpness, weather sealing, and color that flatters paint—paired with the XF 50–140mm f/2.8 R LM OIS WR for panning and track days; OIS plus constant 2.8 keeps shutter speeds creative (1/30–1/60 for motion blur) without mush, and both play nicely with IBIS bodies. Prime shooters get three killers: XF 33mm f/1.4 R LM WR for walk-around storytelling with smooth falloff, XF 56mm f/1.2 R WR for showroom portraits and isolating cars from clutter, and XF 90mm f/2 R LM WR for compressed “poster” frames that make lines look muscular; add the Viltrox 75mm f/1.2 Pro AF when you want glamorous, low-LoCA blur on twilight shoots. For long-end versatility, the XF 70–300mm f/4–5.6 R LM OIS WR is the lightweight panning champ (near-macro close-focus for brake calipers, TC support for stands-to-apex reach), while the XF 100–400mm f/4.5–5.6 R LM OIS WR covers pro-level motorsport with confident AF and stabilization. Detail and interior textures demand macro discipline—the XF 80mm f/2.8 R LM OIS WR Macro brings Hybrid OIS and flat-field acuity for emblems, stitch work, carbon weave, and gauge clusters; the XF 30mm f/2.8 R LM WR Macro is a compact 1:1 option for tight spaces. Video-first creators should look at the XF 18–120mm f/4 LM PZ WR: power zoom, minimal breathing, and near-parfocal behavior for silky walk-arounds and rolling rigs; the XF 10–24 OIS stabilizes glide-cam interiors, and LM primes (18/23/33/56) rack quietly for spec highlights on coachlines. Image priorities for the best Fuji auto glass are clear: low distortion for panels and grilles, strong micro-contrast for metallic flakes, coatings that resist flare around headlights and sun reflections, and AF that doesn’t hunt when chrome and glass dominate the frame. Workflow multiplies results—use a circular polarizer to kill windshield and paint glare (quarter-turn to taste; avoid uneven skies at ultra-wide), pack a 3–6 stop ND for rolling shots and panning in daylight, carry step-up rings to standardize filter size, and bring a compact reflector for wheel wells and interiors. Technique seals the look: shoot low and along body lines to sell stance, use long lenses (56–140mm) for compressed hero angles, pan at 1/30–1/60s with OIS on for motion streaks, keep the car well-separated from background for smoother bokeh, and mind reflections—position yourself and the sun so highlights trace the silhouette instead of blotching panels. The practical kit recipe is simple—anchor with 16–55/2.8 for flexibility, add 50–140/2.8 (or 70–300 OIS) for panning and track, bring a fast prime (56/1.2 or 33/1.4) for glamour and meets, keep a rectilinear ultra-wide (10–24 or 8–16) for interiors and dramatic exteriors, and slot in the 80mm Macro for detail work. Whether you’re crafting glossy dealership heroes, gritty night-meet portraits, silky panning shots, or cinematic walk-arounds, the best Fujifilm lenses for automotive photography deliver the geometry, speed, and stabilization that make cars look fast, sculpted, and expensive.